Sarada Ukil School of Art

Sarada Ukil School of Art SARADA UKIL SCHOOL OF ART , Since 1926

28/10/2023

Salvador Dalí. Cannibalism of the Praying Mantis of Lautreamont. 1934.

06/08/2023

Salvador Dalí. Venus and Sailor (Homage to Salvat-Papasseit). 1925.

06/08/2023

https://www.facebook.com/MiaFeigelson
Paintings shown at Les Vingt Exhibition. Brussels. 18 January - 23 February 1890

'My dear Vincent,
[...] Your paintings at the exhibition are very successful. Monet said that your paintings were the best in the exhibition. The other day Duez [Ernest Duez, French artist: 1843-1896 stopped me in the street and said, give my compliments to your brother and tell him that his paintings are quite remarkable, . Many other artists have spoken to me about them.

Serret [Charles Serret, French artist; 1824-1900] came to the house to see the other canvases and was delighted. He says that if he didn’t have a genre in which he still had things to say he would change and search along the path where you’re searching.' ― from Theo van Gogh. Paris, 23 April 1890. Letter 862 https://bit.ly/3KiBur1

"In November 1889, Van Gogh selected six of his paintings, all size 30 canvases, to be displayed at Les XX.
On the back of the letter of invitation from Octave Maus, dated 15 November 1889 (see letter 818 https://bit.ly/2fujH2f ) there is a pencil sketch that gives some hints for the display Van Gogh proposed, and for its artistic background.

His reply to Maus, dated 20 November 1889 (see letter 821 https://bit.ly/2sIjKiK ) supplied the titles later printed in the catalogue, but did not point out the arrangement he intended:

1. Tournesols ― 'Sunflowers (Arles, January 1889) [F458]
2. Tournesols ― 'Sunflowers' (Arles, August 1888) [F456]
3. Le lierre ― 'Ivy' (Saint-Rémy, 1889 - Present whereabouts unknown)
4. Verger en fleurs (Arles) ― 'View of Arles. Orchard in Bloom with Poplars in the Forefront' (Arles, April 1889) [F516]
5. Champ de blé; soleil levant - 'Enclosed wheatfield with rising sun' (Saint-Rémy. December, 1889) [F737]
6. La Vigne rouge (Mont-Major) ― The Red Vineyard, Montmajour' (Arles, November 1888) [F495] | Sold to Anna Boch (Belgian artist, art collector and the only female member of the artistic group, Les XX, 1848-1936) for 400 francs.

Ivy, the center piece of Van Gogh's arrangement, has been lost without trace since World War II; Hermann Göring is the last person photographed (by Hans Hoffmann) with this canvas while it was stored, together with other works of art confiscated from French Jewish collections, in the Jeu de Paume Galleries. Van Gogh indicated his two Sunflowers (size 30 canvases) were to be displayed either side of Ivy.

To the left and right of this upright triptych, he wanted to place the Flowering Orchard and the Wheat Field at Sunrise. Finally, he indicated Red Vineyard was to be hung (at the top or) underneath this arrangement." ― Find out more https://bit.ly/2tiTnid

03/08/2023

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Self-Portraits by Vincent van Gogh (Dutch, 1853-1890)
"I’d rather paint people’s eyes than cathedrals, for there’s something in the eyes that isn’t in the cathedral — although it’s solemn and although it’s impressive — to my mind the soul of a person, even if it’s a poor tramp or a girl from the streets, is more interesting." — To Theo. Antwerp, 19 December 1885. Letter 549 https://bit.ly/2kWBc0g

"And — my plan for my life is to make paintings and drawings, as many and as well as I can — then, when my life is over, I hope to depart in no other way than looking back with love and wistfulness and thinking, oh paintings that I would have made!" — Nieuw-Amsterdam, 11 November 1883. Letter 405 https://bit.ly/2u5VItT

"I don’t know the future, Theo — but — I do know the eternal law that everything changes — think back 10 years and things were different, the conditions, the mood of the people, everything in short. And 10 years on, a great deal is bound to have changed again.
But doing something endures — and one doesn’t easily regret having done something. The more active the better, and I’d rather fail than sit idle." — Nuenen, 14 July 1885. Letter 515 https://bit.ly/2n52RL6

"Since I’m now so occupied with myself, I’d also like to see if I can’t make my own portrait in writing. First I start by saying that to my mind the same person supplies material for very diverse portraits." — To his youngest sister, Wil. Arles, 16 - 20 June 1888. Letter 626 https://bit.ly/2iilyFS

"I myself still find photographs frightful and don’t like to have any, especially not of people whom I know and love.
These portraits, first, are faded more quickly than we ourselves, while the painted portrait remains for many generations. Besides, a painted portrait is a thing of feeling made with love or respect for the being represented."
— To his youngest sister, Wil. Saint-Rémy, 19 September 1889. Letter 804 https://bit.ly/21dMw1Y

"Thirty-nine of Van Gogh’s self-portraits remain, both drawings and paintings.
The majority of these were created in Paris, as Vincent practised using new, lighter hues and different painting techniques. Using yourself as the subject certainly has its advantages: it’s cheap and you always have access to a (patient) model.
Van Gogh’s ‘selfies’ reflect his development, both as an individual and as an artist." | Source: the Van Gogh Museum

03/08/2023

This week marks the feast day of Saint Anne 🙏

Leonardo da Vinci depicts Saint Anne with her daughter, the Virgin Mary, in the only surviving large-scale drawing by the artist, 'The Burlington House Cartoon'. The Virgin Mary sits on her mother’s lap, her attention focused on the infant Christ Child, who wriggles in her arms. Saint Anne looks intently at her daughter, pointing upwards to the heavens, indicating the Christ Child’s divinity. Christ’s cousin, Saint John the Baptist, leans against Anne’s lap as the baby Christ tickles his chin.

Parts of the drawing are highly finished while other areas, like Anne’s pointing hand, were simply left as outlines. This shows us how Leonardo began by creating rough outlines of the shapes of parts of the body and then, using light and shade, gradually built them up into more rounded shapes. In order to avoid harsh lines Leonardo blurred the contours of the forms, and the resulting smoky effect is called ‘sfumato’.

It is possible that this drawing was made in preparation for a painting. When finished, the design would have been transferred onto the panel or canvas by pricking holes in the outlines and dusting over them with charcoal. However, this drawing shows no evidence of having been transferred which suggests that no painting was made from this design. It is also possible that it was intended as a work of art in its own right: https://bit.ly/3bDcA1a

03/08/2023

"The Starry Night" by Vincent van Gogh 🌌♥️ 360°
An immersive experience ✨🌟🌙
Welovevangogh.com

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